Aug 28

Portfolio Photos

So if you came via my front page you would have seen a collection of 20 of my favourite shots. I thought it would be fitting that I’d put them in a blog post too so here they are again, in no particular order…

First up is this photo I shot recently at World Time attack (or as it was called when it first began – Superlap) 2011.  The 20 photos I selected for my front page were chosen for their variety of compositions and colours and this is an example of that; The bright orange on grey works well as part of the set and that’s the main reason for this photos inclusion.  One of the nice things about the pit complex at Eastern Creek is that you can easily get up nice and high to get some interesting perspectives of the cars and people below.

Another from Eastern Creek ; Mark Eddy’s awesome Audi R8 from Australian GT.  This is a spot I regularly shoot from as I love the effect the high catch fence gives you with a nice pan in front of it.

Another photo from the recent Australian GT race at Eastern Creek and another photo which makes the cut mostly due to the subject matter.  The SLS GT3 is pure porn and the headlight flare and drab weather made black and white processing of this shot an easy decision.  Add a little post-production grain and I think it’s a winner.

The late afternoon sun always makes for great colours and I love the way it brings out the red in this photo.

Dusk on the Peanut: grab your wide angle, slow your shutter down and go nuts (pardon the pun).  I always say that the only filters you really need for your lenses are polarisers and GNDs/NDs, but this is a good example of breaking that rule:  shoot in raw making sure you don’t blow out the sky, then add your filters in post production.



The portfolio set needed some red  – and then I remembered this shot.  Just looking for art in cars…

Sometimes a photoshoot just happens accidentally.  This GTR was left innocently parked in the access-way under the pit garages at Oran Park and I walked past and couldn’t miss the opportunity to get a shot.


The sun shining directly down your lens is a bad thing most of the time.   Very occasionally the lens flare can make the shot.


Wide angle lens+ panning @ 1/80th of a second = profit??

Shooting cars at dusk, particularly when their headlights are on can be pretty tricky.  Pro tip: determine what the ideal settings are for you then lock the exposure or go full manual.  Just never go full retard.

A good example of using your surroundings to your advantage.  Many photogs will try and frame their subject as tightly as their zoom will allow;  before you take the shot check what the background can do for you.  This shot would be nothing without it…


Oran Park at night – always a great photographic challenge.  Bring your tripod though and these shots come easy.

My friend Julie gets her car into my portfolio shots with this pic:  I love the way her beautiful S14’s LED tail-lights turn the water spray pink in this shot.


If you don’t have a wide angle lens – start saving.  More proof that their usefulness in motorsports photography is underrated.


Something I love to do when I’m shooting drifting is to try and capture the driver’s eyes in their side mirrors.  Although this isn’t the perfect example of it, everything else in this photo adds to the shot so it made the cut.

Ok, once you’ve got your wide angle lens start saving for a tripod.  And a cable release.  I’m not putting these shots completely down to my equipment, but they definitely played a major part.


Photography is all about capturing light but unfortunately it’s generally the element you have the least control over in motorsports photography.  So keep an eye out for events that run at dusk or dawn, and put in the hard yards to be at the track early or late.  You will reap the benefits.

Ok, so I used this exact same angle with the exact same composition at the exact same spot earlier in the set.  But I like this photo and it complements the set.  Get off my back…

Last shot in the set is an angle that I only discovered not long before Oran Park closed.  It was a massive trek to get to if you came into the track on the Pit side and you really needed a 400mm lens to pull it off.  But sadly that doesn’t matter anymore…  Good luck reproducing a shot like this.

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